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The Shojo Within the Work of Aida Makoto: Japanese Identity Since the 1980S

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The Shojo Within the Work of Aida Makoto: Japanese Identity Since the 1980S San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Summer 2016 The Shojo Within the Work of Aida Makoto: Japanese Identity Since the 1980s Laurel Rose Hartman San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Hartman, Laurel Rose, "The Shojo Within the Work of Aida Makoto: Japanese Identity Since the 1980s" (2016). Master's Theses. 4724. DOI: https://doi.org/10.31979/etd.9jz3-vpy8 https://scholarworks.sjsu.edu/etd_theses/4724 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. THE SHOJO WITHIN THE WORK OF AIDA MAKOTO: JAPANESE IDENTITY SINCE THE 1980s A Thesis Presented to The Faculty of the Department of Art History San Jose Staté University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Laurel Hartman August 2016 © 2016 Laurel Hartman ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled THE SHOJO WITHIN THE WORK OF AIDA MAKOTO: JAPANESE IDENTITY SINCE THE 1980s by Laurel Hartman APPROVED FOR THE DEPARTMENT OF ART HISTORY SAN JOSE STATÉ UNIVERSITY August 2016 Dr. Beverly Grindstaff Department of Art History Dr. Dore Bowen Department of Art History Dr. Christy Junkerman Department of Art History ABSTRACT THE SHOJO WITHIN THE WORK OF AIDA MAKOTO: JAPANESE IDENTITY SINCE THE 1980s by Laurel Hartman The work of Japanese contemporary artist Aida Makoto (1965-) has been shown internationally in major art institutions, yet there is little English-language art historical scholarship on him. While a contemporary of internationally-acclaimed Japanese artists Murakami Takashi and Nara Yoshitomo, Aida has neither gained their level of international recognition or respect. To date, Aida’s work has been consistently labeled as otaku or subcultural art, and this label fosters exotic and juvenile notions about the artist’s heavy engagement with Japanese animation, film and manga (Japanese comic book) culture. In addition to this critical devaluation, Aida’s explicit and deliberately shocking compositions seemingly serve to further disqualify him from scholarly consideration. This thesis will argue that Aida Makoto is instead a serious and socially responsible artist. Aida graduated with a Masters of Fine Arts from Tokyo University of Fine Arts and Music in 1991 and came of age as an artist in the late 1980s during the start of Japan’s economic recession. Since then Aida has tirelessly created artwork embodying an ever-changing contemporary Japanese identity. Much of his twenty-three- year oeuvre explores the culturally significant social sign of the shojo or pre-pubescent Japanese schoolgirl. This thesis will discuss these compositions as Aida’s deliberate and exacting social critiques of Japan’s first and second “lost decades,” which began in 1991 and continue into the present. ACKNOWLEDGEMENTS I would like to thank my family, professors and friends for supporting me through my graduate studies and my completion of this master’s thesis. Without their financial and mental support of would have struggled far more on this journey called graduate school. First and foremost, I would like to thank my mother for believing in me and supporting my decision to move eight hours away from home to follow my dreams and curiosities. Without her initial push for me to attend a college in the CSU system I would not be where I am today. She has continued to give me more financial and emotional support than I deserve, and I would like to dedicate this study to her. Second, I would like to thank my father and brother for providing me with much needed confidence in my studies. I would also like to recognize and thank my grandparents on both sides, my mother’s for supporting my interests in art, and my father’s for lending me personal advice on how to approach a master’s thesis. In addition, I would also like to thank my boyfriend and best friend John for enduring my meltdowns, insecurities and struggles during this journey. From the Art History and Visual Culture faculty at San Jose Staté University I would like to thank my thesis chair, Dr. Beverly Grindstaff for working tirelessly on my writing and overall presentation of my topic. I sincerely appreciate her insightful critiques on my project, as well as her strong support in allowing me the opportunity to research and write on an Asian Art topic. I also thank my committee members, Dr. Christy Junkerman for her timely feedback on my drafts, and Dr. Dore Bowen for openly v discussing my thesis topic with me and facilitating a number of theory-based seminars that allowed me to explore this topic early on. I must also recognize and thank professor and chair of the department of Art and Art History, Dr. Anne Simonson for her informative advice sessions on Comp I exams, as well as my thesis topic. And last but certainly not least, I would like to thank Dr. Anthony Raynsford for inspiring me to pursue graduate school. I am sincerely grateful for his assistance in my undergraduate study abroad endeavors and initial warm welcoming into the Art History and Visual Culture master’s program. In conclusion, I must thank contemporary Japanese artist Aida Makoto and Kusada Eriko of Mizuma Gallery in Shinjuku, Tokyo for providing me the rights to reproduce Aida-san’s artwork in my study. Since I was in elementary school, Japan has always been a passion of mine. I want to recognize and thank Aida Makoto for introducing to me a critical perspective on a country and culture I have admired for so long. It has left me a more grounded and objective critic of my own passions and dreams. vi TABLE OF CONTENTS LIST OF FIGURES ........................................................................................................... X INTRODUCTION .............................................................................................................. 1 Defining the Shojo .............................................................................................................. 2 The Dilemma of Modern/Contemporary Japanese Art in the Western Art Tradition ...... 11 Literature Review.............................................................................................................. 13 The “Intertextuality” of the Shojo ..................................................................................... 20 Chapter Previews .............................................................................................................. 23 CHAPTER ONE ............................................................................................................... 25 Japan’s Economic Recession: the Hope and Despair of the Shojo Image ........................ 25 A Generation of Consumption: The Rise of the Shinjinrui .............................................. 25 Female Consumption in the 1980s .................................................................................... 28 Society as Shojo : Social Criticism by Male Conservative Critics .................................... 30 Azemichi (1991) and Higashiyama Kaii’s Road (1950) ................................................... 32 Japan as an “Economic Menace”: Trade Tensions in the 1990s ...................................... 37 The Theory of Nihonjinron and U.S/Japan Trade Relations ............................................ 38 Godzilla vs. King Ghidorah (1991) .................................................................................. 43 The Giant Member Fuji as Shojo ...................................................................................... 45 Challenging of Postwar Social Taboos: 1990s Japanese Political Art Production ........... 47 A War Picture Returns : Beautiful Flag (1995) ................................................................. 49 The Death of the Showa Emperor and the Rise of Korean Minority Voices ................... 52 Korean Identity in Postwar Japan: Legacy of the Zainichi ............................................... 54 The Search for a Hybrid Identity: Japanese-Korean Identity ........................................... 55 vii CHAPTER TWO .............................................................................................................. 57 Japan’s ‘lost decade’ and the Role of the Shojo ............................................................... 57 The “Employment Ice Age”: Japanese Male Workers’ Struggle ..................................... 57 The Shojo and the Kawaii Movement ............................................................................... 63 Kawaii as Social Critique: Gunjyo-zu ’97 (1997) ............................................................. 65 View from the Train: The Image of the Shojo in Tayama Katai’s “The Girl Fetish” ...... 68 The Shojo ’s Dark Side: Kogyaru ...................................................................................... 69 The Image of the Kogyaru vs. The Image of the Kawaii Schoolgirl ................................ 72 Japanese Cultural Travesties: Kogyaru and Ganguro Subcultures ................................... 76 Harakiri Schoolgirls (1999): The Demise of the Submissive Schoolgirl Image .............. 80 CHAPTER THREE .......................................................................................................... 83
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